Chinese Cinema Analysis - Research Paper Example

 First Reflection The cinema world is exceptionally wide and its study requires understanding keen observation and understanding. In this paper, the focus will be on Chinese cinema, which has been around for quite a long time. People choose to pursue various study fields for distinct reasons. In this context, the main motivation behind the study of Chinese cinema is that I have little knowledge of the area. In as much as Chinese cinema has been extremely instrumental in the establishment of the entertainment sector, I am not familiar with the area. For instance, am not familiar with the directors of the films that are necessary to the identification of the Chinese cinema. For this reason, I figured pursuing Chinese cinema will be a considerable source of information regarding the section. In addition, studying Chinese cinema will offer me different approaches that are outside the average of what any film student’s scope. This is an area where most people to do not venture in their studies and having some information on the Chinese cinema will help me grow. On a broader perspective, studying Chinese cinema will help expound my ever growing interest in Asian culture. Apart from China being one of the oldest countries in the world, it is also among the largest regions in the globe. To understand the cultures of this wide region will require extensive knowledge and Chinese cinema are a magnificent avenue for this course. More importantly, as a digital media student, information on Chinese cinema will be highly applicable in my own attempt of style in film making and concept. I believe that learning the pacing and gestures of Chinese film will be fun as I will try to synthesize the knowledge into my work. More so, learning and feeling the energy of the characters will be helpful. I would like to replicate that energy in my work, either abstractly or literally. For this reason, the focus of this paper will be on one of the most influential film director in Chinese cinema. This study paper will provide extensive information on Chen Kaige in relation to his works and contribution to the Chinese cinema. In order to understand the career of Chen Kaige, it was advisable that I watch four of his films, which should any common theme or concern throughout his works. Chen has been visible in Chinese cinema from 1980s up to the recent times. In analyzing Chen, the paper will focus on various elements present in the films under his name. For instance, the subject matter of the film, plot, setting, characters depicted theme and cinematography. Two films, Farewell My Concubine and Yellow Earth will be the main focus of Chen’s film. Chen Kaige Films from China have become a celebrated part of world cinema, winning prizes at film festivals and widespread viewers. The force behind these achievements is the vision and talent of young group of filmmakers who emerged in the 1980s. One of the major contributors to these achievements is Chen Kaige. Most of the characters in Chen’s films stand out as happy and carefree people, which cannot be a reflection of the director’s life. This renowned director in Chinese cinema was born in Beijing in 1952, to the father who was equally popular because of his effort in the cinema industry in China. At a remarkably tender age, Chen pursued his dream in film and in the year 1978, he joined Beijing Film Academy. While in the academy, Chen met other presently renowned film-makers, Zhang Yimou and Tian Zhuangzhuang, who helped revolutionize the film industry in China. Most people who studied film in the academy later came to be known as the Fifth Generation. From the works of Chen Kaige in the 1980s and the present, it is evident that China has undergone tremendous changes. According to Chen, the dream of an idealized socialist society had a new place in the fashionable need for material wealth. Despite this change, totalitarian predispositions remain evident in the Chinese cinema such as censorship of films regarded as promoting values that challenge communist ideals. Chen has been outstandingly steady with themes and in the rationale of his films. Most notable is the aspect of music in several of Chen’s films. Analyzing the varied films under Chen’s name, the role of music is indispensable. Yellow Earth is the best example of Chen’s film which has rich use of music. In this film, Chen tries to bring the globe’s attention to the cultural richness of Chinese folk songs and opera which present throughout Yellow Earth. This film indicated the start of new Chinese cinema in the 1980s and has stayed on the top as the symbol piece of the Fifth Generation of filmmakers including Chen (Chen and Haque 59). The film's setting is in the wide landscape of the austere and grand loses of northwestern China. Yellow Earth gives a tale of an army in search of rural folksongs, which offers the framework for quasi-ethnographic observations. In addition, the film provides cultural-historical reflections that are the focal point of Chen’s works. Chen successfully displays his choice of elements of classical Chinese aesthetics through the use of hauntingly soulful songs. In the 1980s, Chen Kaige deeply engages his talent to exhibit the new wave of contemporary Chinese art and , through music, we can clearly understand the change. In Yellow Earth, a Red Guard assembles folk songs from the poor people in a remote Chinese village. The theme of music is evident in Farewell My Concubine, which is a tale of two Beijing opera singers set against the mayhem of Chinese olden times. Watching Chen’s films, one understands and appreciates his filmmaking style, which is conspicuously diverse in approach and skill. In comparison to the western and European filmmaking industry, Chen’s style perfectly stands out especially in the technique and style. Almost without immunity, every building block of the filmmaking procedure is craftsmanship at its utmost echelon. It is to Chen’s credit, which he is able to harness all these elements of production, editing, filming, acting and storytelling in service of an indisputable compassionate and inventive purpose. Chen’s puts across an individual as well as a widespread message for audiences globally. Through his talent and skills in cinematography, Chen clearly shows the audience the cultural aspect of China through various artistic means. Music, especially folk songs which were instrumental in the army during the political revolution in China gives the viewer a close picture of the country’s rich cultural background. Folktales are also an excellent way into the exploration of cinematography as per the Chinese cinema. Despite the minimal difference, in the approach of filmmaking in Chinese cinema, the mode and subject matter of the films match most filmmaking industries in the world. In his early films, Chen explores the theme of politics and definition of national identity. 1980s, when Chen explored the film industry in China were tough times for the country with substantial changes being experienced both politically and socially (Chen and Haque 134). The country was finding stability in politics while at the same undergoing the extraordinary revolution. This revolution had an effect of different aspects of life in China and culture. The main themes of Chen 1980s movies revolved the revolution and the effect this transformation had on the ordinary Chinese people of the time. For instance, Yellow Earth investigates Cultural Revolution and its impact on the lives of Chinese people. On the other hand, Farewell My Concubine seriously examines the theme of politics as the tale explores the effect of revolution and change in the characters of the film. Politics and national identity comprise most of Chen’s films in the 1980s and even his most recent films. The politics subject places Chen above other film directors in Chinese cinema for different reasons. At an early age, Chen was sent for re-education where he joined the Red Guard at which point he denounced his father. Becoming a member of the Red Guard marked Chen’s entry in to a system rigidly controlled by the Communist Party. For this reason, Chen has a personal touch and experience with the subject that mainly covers his films. Chen’s personal goals in film making are to bring a difference in China through film. As a young a boy, Chen was part of the political change in China and personally understood the impact of the change and revolution on the ordinary citizens of China (Chen and Haque 39). Political revolution in China influenced the various aspects of China’s way of life and this can be best explained in films. Despite the revolution, Chen aims at understanding and celebrating Chinese tradition, music, art and culture while at the same enriching people’s lives with the films. From previous experiences, trying to reconcile the spirituality of artistic creativity with a need to make a concrete material difference in people’s lives can be quite a difficult task. This is so especially when the films constantly employs themes of political change. In most cases, there will be conflicts in the portrayal of the matters in films that may end up in such measures as film censorship. Farewell My Concubine explicitly focuses on the political and human stability in the wake of political revolution. Chen manages to reconcile the political and humanitarian sensibility excellently. The uncompromising depiction and implicit criticism of the worst excesses of the Cultural Revolution in Farewell My Concubine superbly explores Chen’s talent and understanding of Chinese cinema. However, the thematic subject of politics and revolution led to a series of conflict prompting the film to be banned in China. Chen aims at instilling change amongst Chinese people in ways he best understands which is through film. In relation to this ideology, Chen’s cinematic vision is to use cinema to address the subject of politics in China. Watching Chen’s films, one quickly realizes the main concern he tries to portray which is the impact of Cultural Revolution (Chen and Haque 104). Having firsthand experience in the effects of political changes, Chen mainly tries to undermine the communist ideology in China. In a more specific aspect, Chen exhibits his concern for the effect of revolution in China on its people’s culture. Films indicate the negative influence of neglecting culture, which majorly provides the Chinese identity. People speaking of China will focus on the rich culture the country possesses and at the same explore the effect of this culture on the lives of China. Chen’s cinematography shows the director understands the significance of economic reforms in China but his main concern is the cultural situation. People may have money, but, without sustaining their culture, there will be erosion of national identity. Chen agonizes over the conflict between the necessities of China to be an economically self-sufficient for the quality of its people and the loss to the nation’s historical and cultural heritage that these will involve. This great effort to bring together the spiritual and material often leads to conflict and betrayal in his films. Major conflict and betrayal in Chen’s films occurs in the father and son, master and discipline, between family, friends and lovers (Chen and Haque 44). The dualistic conflict is often portrayed in his films as the rebellion of youth, turning against one’s master or father. More so, the characters abandon the spiritual and cultural aspect of their lives for the material needs of the individual and the enrichment of people’s existence through social and political change. The cinematography in Farewell My Concubine echoes real-life occurrences for the director; a young man publicly condemns his adopted guardians as enemies of the people due to their commitment in the art of opera performance. In other films, Chen takes up certain roles and characters especially those he personally relates. In cinematography, the directors can take up characters in the film as people can have the acting talent or properly understands the role of the character. Most films across the world have one person playing the director and character of the film. Director Chan mainly plays the roles of a son abandoned and betrayed by a father because he relates to these events. In another cinematic vision, of Chen’s films is exploring the subject of parent-child relationship. The past movies had outstanding plots on the parent-child relationship, which mostly come the revolution in China. Change in the social and cultural perspective of life in China had a significant impact on the child-parent relationship. Parents were still stuck in the ancient ways of doing things while the children embraced contemporary cultures that came with Political Revolution. Analyzing Chen’s approach to cinematography in the early 1980s and the recent work, there is a slight difference in the techniques and subject matter the director puts emphasis. In the films, Chen’s step appears to have faltered because of the effort to spread out his range. In 2002, Chen ventured in to the European market by producing a film in English language. Killing Me Softly, an English erotic murder-mystery thriller had a poor reception in the film market. In an attempt to expand and venture in to other types of film, Chen seems to be deviating from original cinematic vision present in the early years of his works. In the film industry, there is the need to have an approach towards film production but this comes with a strict measure (Chen and Haque 34). Venturing in to other forms of the film that were not in the initial plan will mean losing the original idea and embracing new approaches. This is evident in Chen’s attempt to embrace the present new approaches in filmmaking industry that have led to low reception of his works in the recent years. The production of the promise still indicates Chen’s inability to synchronize his main themes of politics and humanitarian culture with different working methods. Change of approach in film making means losing personal control of the film in terms of subject matter and approaches. Still in the same year, the production of Together, film is a clear indication of Chen Kaige’s attempt to incorporate the Hollywood aspect in his works. Chen cinema visions in the recent times include using western approaches in Chinese cinema in order to attract the western audience. However, the change in approach does not seem to interfere with Chen’s original, personal touch in the film. The recent attempts to woe the western audience brings up conflict between personal filmmaking and commercial concerns. It is evident that the problems with applying an Asian sensibility to western-style filmmaking will lead Chen Kaige in to new courses and greater achievements (Chen and Haque 30). Being a filmmaker calls for diversity in approach together with creativity. Just as any other industry, film industry is dynamic both in approach and subject matter which in turn requires the participants to be more skilled. In order to retain and capture more audiences, the filmmakers have a role to incorporate their themes with the recent ones and the new methods of cinematography. In appreciating the change in times, Chen attempts to be sensitive about human nature and create and develop new elements of cinema language. Language aspect can be a formidable barrier filmmaker’s effort to capture a wider audience globally. Chen started off in China with most of his works in 1980s and 1990s being in Chinese. However, the aspect and effect of globalization has forced the film industry to accommodate the growing audience. The Promise is an excellent example of Chen’s work which seeks to take Chinese cinema to another level. Chinese cinema exhibits a constant desire to develop, evolve and expand the abilities of film making (Chen and Haque 54). In addition, the industry still hopes to maintain the entertainment aspect of its films with the hope of capturing both local and foreign audiences. Chinese cinema was a principal source of history to its people and other interested parties in the field. For instance, the film Yellow Earth is full of traditional, folk songs collected by the Red Guard Army soldier. The main purpose of these traditional, folk songs in the film was to act as the Maoist propaganda marching songs. The folk songs give the viewer an insight in the rich cultural background of Chinese people. The following movies explore the impact of Political Revolution to this culture and the people’s acceptance of the new way of life. However, the subject matter of political revolution in Chinese cinema has become obsolete and now requires the incorporation of new subject matters. For this reason, film directors like Chen focus on the recent themes of human nature without the interaction of politics and historical events. Film industry needs the main players to possess the ability to convey their message through film characters. Chen Kaige carefully portrays his talent in the various aspects of the film industry by constantly creating acclaimed films, which led to his recognition in the industry. Through various characters in the Farewell My Concubine, Chen deals with the country’s oldest artistic tradition, the Beijing Opera. Unfurling like an ornately embroidered tapestry, this epic sweep of a film covers 50 years, tracing the turbulent relations between two Operan stars, Dieyi and Xiaolou. The characters in the film also raise the provoking questions about comradeship and devotion that only those who have stayed under dictatorial regimes will ever know how to respond. On another point of view, Chen’s work in Chinese cinema indicates the realism direction of the industry in China (Chen and Haque 304). It is evident that the subject matter of the Chinese cinema industry will and has undergone tremendous change, but, one thing remains common, individuality in their works. Chinese cinema is full individuality especially in terms of subject matter of the films and mode of approach the directors give the industry. The market of Chinese cinema may have undergone several changes, but, one thing remains clear, the lead players in the industry still rely on their personal approach to make films. The most notable aspect of Chinese cinema is the fact that directors always have a character in the movie they can relate with and comfortably play their roles. This too gives the Chinese cinema works a personal touch from the directors which help in capturing a wide audience. Conclusion Learners can learn history of different regions in the world in various ways. In this case, film industry with exceptional focus on Chinese cinema was a potent source of information concerning historical perspective of China. In addition, the class offered a more appropriate study of China and its connection to Chinese cinema. Before the start of the class, my expectations were to understand the directorial approaches and technical aspects of Chinese cinema. However, the class has been instrumental in my understanding of China’s rich political, economic and transformation of culture. These aspects have interestingly been leading in the development of many auteur’s visions through the vehicle of film. The most intriguing perspective of this course was the lineage of films and how they layered over one another. The progress in which the director progresses his works provides the excellent flow of activities in the ancient China. Through watching the movies from the Chinese cinema, the viewers can easily relate to the effect of Political Revolution in China. For instance, the same director like Shower would reference Yellow Earth in several other films. I have never been a witness to such co-existence of films. The filming of Yellow Earth holds a constant composition that conveyed the message to the audience. As a digital media student, I appreciate an element like this and how it adds up to the narrative. With the hope of pursuing the film industry after my studies, this is something I will make sure to have in mind during the practical approach. There is also something bone chilling concerning Farewell My Concubine that I would most certainly explore and analyze further in my career. On the other hand, the class slightly deviated to Taiwanese cinema, which equally has singularly relatable and engrossing films. In as much as Taiwanese cinema was not the main focus of the study, I intend to explore more Taiwan films such as Yi Yi. This was a jolly compelling film that had a certain lightheartedness to it that leaves the viewer yearning for more. Works Cited Chen, Ming and S. M. Haque. Representation of the cultural revolution in Chinese films by the Fifth Generation filmmakers Zhang Yimou, Chen Kaige and Tian Zhuangzhuang. Lewiston, N.Y.: Edwin Mellen Press, 2007. Print. Read More